Fall Fav’s: ‘Innocence & Decadence’ by Graveyard
By Elizabeth Gore
When Graveyard announced the release date of Innocence and Decadence (2015 - Nuclear Blast Records), I thought about the themes and sound from their previous albums and wondered what they were going to do different. The answer is, Graveyard is a very consistent band in quality and sound, and their evolution is subtle, so far.
“Magnetic Shunk” starts out the album with what sounds like emotions enraged in quarrel. I’m not sure there’s anything sexier than a man fighting to prove his love over others. When “Hisingen Blues” focused on unrequited love whilst battling inner demons, “Lights Out” on trying to find positivity within darkness (externally and personally), “Innocence and Decadence” slams straight into raw expression of complete love and loss. I already know this is an album written to convince the past that it can be repaired, and anything and everything must be salvaged.
The album rolls right on through to introduce the band’s experimentation with guitar tone. With “Apple and the Tree,” “Can’t Walk Out,” and “Hard-Headed,” you have these simple figures on guitar and bass, so deliberate in their execution. They interweave this single note melodic state, which highlights the chord tones, so that the repeated arpeggios track chord changes. This may make the composition seem repetitious, but the playful chaos backed by the crunch of guitar and super beefy bass create a wonderful foundation for the quickened tempo.
These Swedes certainly did not hold back in claiming their southern blues influence, and they hope you picked out your best Sunday dress. “Exit 97” includes a wailing organ that could rival the most wild and melancholy praise to be heard in gospel choir. “Too Much Is Not Enough,” and “Hard-Headed” incorporated both male and female rich chorus sections. Graveyard fully succeeded in utilizing a delicate harmony for the females to create an expansive development, while employing the men to manifest a foreboding subconscious.—Brilliant dynamics, in addition to their characteristic and soulful string vibratos.
Graveyard doesn’t stop there with adding new elements to their music. Nilsson continues his relentless dichotomy between clean vocals, and even harsher, visceral sounds. They maintain their balance between spaghetti-western flares fused with the effectively psychedelic and soft vibraphone. I had the opportunity to see Graveyard play in Los Angeles early 2014, and I can say I was blown away by the pure “beast mode” the drummer claimed on stage. In this album and others, I’m proud when drummers know when their instrument can be the most effective, or to stand back and allow another development take place. Sjöberg’s fills are played from the heart. From deliberate yet gentle ride taps, crashes and falls, drum/cymbal short “stumbles,” to mid-tempo galloping create this extra layer that backs the wild modulations, and fills the frequency underneath the vocals to give more visual power to the lyrics.
The album wraps up with, “Stay For A Song,” opening with a simple exposition, which brings head to a hopeful progression, a pleading, strumming guitar. Their music is simply their expression for love, and the final thoughts of battling ennui set in from pursuit of destiny, haunting subconscious, and pushing away loved ones/taking them for granted. I’ve already seen the music video, but the final moments of this song brings a visual of a camera slowly reversing from its brightly lit, solitary subject. What clarity can you find in this maze of MC Escher inspired reverie? What will happen to our Warriors? Will they find recompense? For those of you with busy schedules of misanthropy, you may roll your eyes now.
…To Be Continued… Damn these Swedes.
